Le mur
2017
1 h 19 min
Coming soon
Le mur est un long métrage d’animation écrit par le célèbre scénariste et dramaturge britannique nommé aux Oscars® David Hare (Les heures, Le liseur). Le film de 80 minutes suit Hare lui-même alors qu’il se rend au Moyen-Orient pour y examiner les répercussions profondes du mur qui sépare Israël et la Palestine sur les habitants de cette région.
Details
Le mur est un long métrage d’animation écrit par le célèbre scénariste et dramaturge britannique nommé aux Oscars® David Hare (Les heures, Le liseur). Le film de 80 minutes suit Hare lui-même alors qu’il se rend au Moyen-Orient pour y examiner les répercussions profondes du mur qui sépare Israël et la Palestine sur les habitants de cette région.
-
NoneDavid HareMitch BaranyPrice MorganCam ChristiansenItay MintzAlastair CoomerJuliet HorsleyJames Mark StewartStudio Dialog
-
directionCam Christiansen
-
animationCam ChristiansenSergey SolokhinWilliam DyerNiranjan KailainathanDeepak KumarTyler LemermeyerGregory MarshallJoe Sie
-
producerDavid ChristensenBonnie ThompsonCam Christiansen
-
executive producerDavid Christensen
-
programmingSergey SolokhinJugoslav Stojanov
-
chief animatorMitch Barany
-
2D classical animationÉléonore Goldberg
-
artistic directorCam Christiansen
-
editingCam Christiansen
-
castDavid HareElliot LeveyNayef RashedAmmar Haj AhmadPhillip ArdittiSam CoxSara KestelmanImran MraishRaad RawiKarzan SherabayaniAviv TellerAtta AlzweidiAmir BoutrosPaul JessonNicholas Le PrevostTracy Ann ObermanDavid SchneiderLauren Silver
-
voiceJohn WatsonMichael Haddad
-
participantMaureen HodganRoman GoladSamir BouzoureneNaor CohenCaitlin LeonardDexter BatemanMorgan BatemanMartin FinnertyDominic GirardSarah HawcroftMorna StephenssonSam Wald
-
production servicesHighlight Films
-
producer of production servicesNoam Shalev
-
location soundAmir ShmueliElad GoldiShiraz Rishmawi
-
production coordinationKarin NeumannDaniel RazRaghad MukarkarHanna Abu Saada
-
legal servicesGoslings (UK) LLP
-
performance capture producerPhil Stilgoe
-
performance capture supervisorStoo Haskayne
-
facial capture technicianMike Hedges
-
motion capture coordinatorIain Silvester
-
senior motion capture technicianKadel Barton
-
motion capture technicianMatt Parker
-
motion capture assistantJaleesa Tonge
-
motion capture post production managerEddie Ellis
-
post-production assistantGary Hewson
-
motion capture tracking managerGoran Kimitrijevic
-
god of trackingIgor Kovacevic
-
trackingMilos KnezevicJelena MitrovicNenad MilosavljevicZoran Muncan
-
sound designerDaniel Pellerin
-
sound mixerSerge Boivin
-
online editingSerge Verreault
-
titlesJacques Bertrand Simard
-
legal counselChristian Pitchen
-
subtitlingZoé MajorPier Courville
-
researcherElizabeth KlinckScot Morison
-
technical supportMohammed El-Haji
-
translatorLarissa GermanNora Dessouki
-
production coordinatorGinette D'SilvaJasmine PullukattFaye Yoneda
-
production supervisorMark PowerEsther Viragh
-
administrationBree BeachGinette D'Silva
-
marketingLeslie Stafford
-
media relationJennifer Mair
-
head, festivals and audienceÉlise Labbé
-
manager, studio operationsDarin Clausen
-
executive directorMichelle van Beusekom
Education
Ages 16 to 18
Ethics and Religious Culture - Ethical Values
Ethics and Religious Culture - Religious Diversity/Heritage
Geography - Human Geography
Social Studies - Contemporary Issues
Warnings: violence, smoking
Before viewing: On a map, locate Israel, Palestine, Jerusalem, the West Bank, Gaza, Tel Aviv, Nablus and Ramallah. Also, determine which countries are included in the term “Middle East” and establish where the wall has been built separating Israel and Palestine. What difficulties were faced when travelling to Nablus from Jerusalem? The price of the wall is quoted as four billion dollars. Was it worth it? In the final minutes of the film, we hear the opinion that Israel “became addicted to occupation.” Create a list of reasons to agree or disagree with this statement. Why do you think some of the graffiti near the end of the film is in colour? Discuss whether or not the wall should come down, as indicated by the CTRL - ALT - DELETE graffiti. What is your overall impression of the animation style used in this documentary?
